Case Study: Danish Museums on Twitter - CultureHive · 1/9 Case Study: Danish Museums on Twitter...

1/9 Case Study: Danish Museums on Twitter

A group of Danish art museums have joined forces to develop a shared mobile platform based on open content. There are two aspects of the project that could be explored in this case study: 1) The mobile tool as product, and 2) the collaborative process behind it. As the tool itself is still in a test phase and we have no consistent metrics to document its value for end-users, the choice has been made to focus on the second aspect. The value so far lies in the benefits of cross-institution collaboration and adoption of open licences. A video introducing the mobile tool and initial user responses is available on YouTube: https://www.youtube.com/watch?v=Sle3uQEdeNA

Overview

Big Idea 2

Users 3

Value Proposition 4

Channels 5

Benefits 7

Conclusions 8

Appendix 9

Case Study: Danish Museums on Twitter Open Data Case Studies Workshop

Paris, January 28, 2013 Merete Samderhoff, Statens Museum for Kunst


Big Idea

‘…what does it mean that there are millions of images on the web that we are not allowed to touch while at the same time there are other millions of images that we can actually use?’1

For museums to be relevant to new generations of digital-born users, we should want nothing more than to have our images be among those you can actually use.

Statens Museum for Kunst, the national gallery of Denmark, has initiated a collaborative pilot project between, so far, 11 Danish art museums. The big idea is to build a mobile tool for art interpretation and engagement that is shared by many museum partners who all sign up to three common principles:

1. All Public Domain content is freely shareable and re-usable 2. We utilise an existing platform instead of custom-building a new one 3. Target users take part in developing and creating the experience

The mobile project wants to explore the potential of using mobile devices as in-gallery tools that invite users to look more closely at the artworks and engage with museums and each other around art. Furthermore, it aims to encourage Danish museums to start adopting open licences for their digitised collections. If we allow the public free and unencumbered possibilities to re-use and remix the images, our digitised art collections become useful and relevant in new ways.

Merete Sanderhoff, Researcher at SMK, presenting at Europeana’s Open Data Case Studies Workshop in Paris.

1 Peter Leth, Creative Commons for alle, Lær IT, 2011 [in Danish only, my translation]


Users

As the focus of this case study is on the collaborative process, ‘users’ here signify the museum partners.

The project aims to solve common challenges with common solutions, by

Building an ecosystem of freely re-usable digitised artworks with open licences Connecting our online collections and sending users on to each other Sharing a mobile platform that is easy to manage and sustain

We all know that more and more online traffic is generated from mobile devices.2 But not every museum has the capacity to embrace mobile technologies in their educational programmes. From a museum perspective, there is a need to work together and to learn about the potentials of mobile platforms and applications for our users and institutions. The project partners so far amount to 11 Danish art museums across the country:

Vejle Kunstmuseum Ribe Kunstmuseum Fyns Kunstmuseum Faaborg Museum J.F. Willumsens Museum Thorvaldsens Museum Sorø Kunstmuseum KØS – Museum for art in public spaces The Hirschsprung Collection Ny Carslberg Glyptotek Statens Museum for Kunst

From the outset, we have kept the door open to newcomers, which has resulted in an increase in the number of museums involved from 9 to 11.

2 One recent instance of increased online traffic via mobile: http://www.vam.ac.uk/b/blog/digital-media/museum-visitors-using-

mobile


Value Proposition

Through pilot projects, the Danish museum community has learned that our own tradition for restrictive image licensing is inhibiting the potential for exposing and connecting our online collections in meaningful ways. International peer institutions have proven that by adopting open licences, it is possible to reduce administrative costs and at the same time increase the exposure and usage of digitised collections.3 By doing so, we can align image licensing policies with our mission as public culture institutions to support the prosperity of learning and creativity in the 21st century.4

The current pilot project was instigated in 2011, motivated by the following issues:

We need to be accessible via mobile We need our collections to be exposed on the web We need to be relevant to next-generation users

A survey conducted in 2009-11 established that there is a willingness in the Danish museum community to share digitised images for free – not only with peer institutions but with the general public. Our value proposition is for the museum partners to save administrative costs, and gain more exposure and usage of their digitised collections. This is achieved by ceasing to charge for digitised Public Domain images, and instead to let them flow freely into the internet while actively encouraging re-use. An important motivation for the partner museums to work with open licences is to allow our images to be freely circulated on social media platforms where users engage, discuss, learn, and create on their own terms. Equally importantly, by adopting open licences we enable Wikimedia Commons to harvest our images so they can be used to enrich Wikipedia articles in multiple languages.5 Rijksmuseum’s release of 125,000 high resolution images from their collections ensures that the public can find truthful renderings of their artworks across the web. This release has been highly inspirational for our work.6 As a test, Statens Museum for Kunst released a charter collection of 160 highlights under the Creative Commons Attribution 3.0 licence in April 2012. Since then, they have been harvested by Wikimedia Commons and are now appearing 719 times in 537 individual Wikipedia pages in 27 different languages.7

3 See for instance:

- Paula Bray, Open Licensing and the Future for Collections. In J. Trant and D. Bearman (eds). Museums and the Web 2009:

Proceedings. Toronto: Archives & Museum Informatics. Published March 31, 2009

http://www.archimuse.com/mw2009/papers/bray/bray.html (consulted March 25, 2013)

- Anthony Griffiths, Collections Online: The Experience of the British Museum, in Jane Turner (ed). Master Drawings vol. 48,

No. 3, Autumn 2010

- Interview with Alan Newman, National Gallery, Washington D.C., about NGA Images: http://openglam.org/2013/01/17/keep-

it-free-national-gallery-of-art-us-creates-open-access-policy/

(consulted March 25, 2013)

4 As stated in a blog post by Nick Poole of Collections Trust: http://www.collectionslink.org.uk/blog/1536-culture-must-always-

be-a-commons

5 For a detailed study of the potential impact of this, see Maarten Brinkerink’s case study in the present White Paper.

6 A discussion of Rijksmuseum’s case can be found in "The Problem of the Yellow Milkmaid", Europeana White Paper no. 2:

http://pro.europeana.eu/documents/858566/2cbf1f78-e036-4088-af25-94684ff90dc5

7 Statistics retrieved using http://toolserver.org/~magnus/ts2/glamorous/ on 26 March 2013.


Arguments such as these have motivated the project partners to adopt the following Creative Commons licences:

CC-BY Artworks Den Hirschsprungske Samling 18 Thorvaldsens Museum 20 Ny Carlsberg Glyptotek 10 J.F Willumsens Museum 10 Fyns Kunstmuseum 15 Vejle Kunstmuseum 7 (+5) Faaborg Museum 20 Statens Museum for Kunst 20 (+140) CC-BY-NC Ribe Kunstmuseum 22 KØS – Museum of art in public spaces 11 Awaiting decision* Sorø Kunstmuseum 10 168 (308)

As shown, the number of openly licensed artworks is so far limited, but the signal value in 11 Danish art collections across the country adopting open licences is significant. It is also worth noting that most of the partners have followed the lead of Statens Museum for Kunst and chosen the most liberal of the Creative Commons licences.8

Channels

As stated in the three common principles of the project, we are committed to utilising an existing platform for our shared mobile tool. The choice has fallen on Twitter for several reasons:

Content production is manageable (micro-blogging in 140 characters at a time) It allows us to recycle existing online content Hashtags offer a simple way to tag individual artworks and keep track of content linked

to them It's a democratic platform where every user is equal and identifiable It’s multilingualism offers potential to expand the collaborative platform across national

borders Functionalities are dynamically updated and improved with no effort from our side

All content in the mobile tool is produced on Twitter, using the functionalities of this platform (write, link, upload/edit images, etc.) In addition, we have built a very simple responsive website called HintMe (in beta at hints.o8e.dk) whose function it is to aggregate tweets with

8 For a discussion of why we have not chosen to use the CC0 or Public Domain mark in the early stages of adopting Creative

Commons licenses in the Danish museum community, see the case study on Statens Museum for Kunst's charter collection

on the Creative Commons GLAM wiki

http://wiki.creativecommons.org/Case_Studies/Highlights_from_SMK,_The_National_Gallery_of_Denmark


specific hashtags from the Twitter stream and archive them for future reference,9 and to host the high resolution image files and data from the museums in a safe environment.

Using an existing platform has made it possible to keep production costs down to a minimum, enabling us to develop a functional and flexible mobile platform with 11 partners for ~40,000 euros. Twitter already has the functionalities that we need for the interaction design, and its 140 character rule lowers the content production to a manageable minimum. This has been a crucial factor in establishing a collaboration with many partners each investing staff hours without compensation. Links allow us to activate the online content we already have up on our individual websites, for instance about artworks and artists in our collections. Moreover, it enables us to connect our own content with relevant knowledge from all over the web, and to connect artworks across collections, allowing us to send users on to each other.

9 As Twitter deletes content after less than a month.


We chose Twitter for the sake of the participating museums – to get as many as possible on board, arguing how easy and manageable it is to participate – and for the sake of experiment. The fact that we use Twitter as our platform and collaborate across institutional borders to develop a shared mobile tool based on open licences, democratic dialogue and co-creation has raised international attention about the project.10

Benefits

From the outset of this project we hoped to:

Encourage adoption of open licences by Danish art museums Develop a thriving collaborative environment in our museum community Learn about mobile technologies in a museum context Have a mobile platform that would be flexible and low cost to manage, sustain, and

develop further Offer users a valuable mobile tool for art appreciation and engagement

What we have accomplished so far is that a range of Danish museums have adopted Creative Commons licences for small selections of their collections and have become aware of the benefits of open image licensing. We have increased the number of partners, and even more are considering joining. We have become a strong team of museum peers on a discovery to foster new knowledge and skills about mobile technologies and user behaviour to the benefit of our community. Finally, we have built the foundations of a shared mobile platform which we are working to develop into a useful tool together with target audiences.11 As stated, it is still too early to say anything consistent about the end-user impact and value of the mobile tool itself. What we do know is that there is great interest in the Danish educational sector at the prospect of getting access to more Open Educational Resources from the country's art museums. A targeted plan to engage school classes in using HintMe as a tool for interactive teaching and learning is in the making. Furthermore, Wikimedia Commons is keen to harvest more high quality images from Danish art museums, and we are keen to learn what

10 See Appendix for references to the project.

11 Learn more about test users' responses to HintMe here: http://www.slideshare.net/MereteSanderhoff/mobile-art-stories-

smwcph


uses our collections can be put to in Wikipedia, and to follow the traffic this might drive back to our museum websites.

Conclusions

With this pilot project, we hope to set a new standard for how Danish art museums license their digitised images in the Public Domain, and slowly habituate users into expecting open standards from the cultural heritage sector in general. If one of the results of this pilot is to leverage adoption of open licences in the Danish museum community, thus increasing the sum of freely available high quality digital images from our collections, it has proven its worth.


Appendix

Presentations of the pilot project MuseumNext conference, Barcelona, May 2012

http://www.slideshare.net/MereteSanderhoff/a-crowdsourced-networked-shared-mobile-thing-13056717

http://vimeo.com/45705253?action=share&post_id=1129350540_429715973734173#_=_

Open Knowledge Festival, Helsinki, September 2012

http://www.slideshare.net/MereteSanderhoff/common-challenges-common-solutions-okfest-20092012

2nd Strategic Briefing on the European Cultural Commons, Cyprus, October 2012

http://www.slideshare.net/MereteSanderhoff/a-european-cultural-commons-30102012 2nd International Forum on Cultural Infrastructures, Santiago de Compostela, November 2012

http://www.slideshare.net/MereteSanderhoff/adding-sharing-growing-caringiifiec09112012

Social Media Week, Copenhagen, February 2013

http://www.slideshare.net/MereteSanderhoff/mobile-art-stories-smwcph Computers in Libraries, Washington D.C., April 2013

http://www.infotoday.com/CIL2013/session.asp?ID=C104/C105 View video presentation: https://www.youtube.com/watch?v=Sle3uQEdeNA

Mentions of the pilot project Open Knowledge Festival, September 2012

http://openglam.org/2012/09/27/openglam-workshop-at-the-okfestival-2/ Swedish Exhibition Agency, October 2012

http://www.riksutstallningar.se/content/spana/curating-and-participation-new-mobile-platform?language=en

OpenGLAM blog, October 2012

http://openglam.org/2012/10/23/the-participatory-museum-of-denmark/ Musings blog, January 2013

http://blatryk.wordpress.com/2013/01/24/beta-test-smk/ Berlingske Tidende (national newspaper), February 2013

http://www.b.dk/kultur/danske-kunstmuseer-satser-paa-twitter Kunsten.nu (Danish portal for contemporary art and culture), April 2013

http://www.kunsten.nu/artikler/artikel.php?kunstformidling+app+skovgaardmuseet+hintme

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